Universe Creation 101

How to create unique entertainment properties that traverse media platforms

Archive for August, 2008

Acting to Be or Not to Be

I intended to read an “interesting” paper on the influence story length and pace has on channel changing, but what I discovered was so much more. I’m looking at such research to help with my understanding of cross-media navigation. Since there are not many studies in this area I’m looking at anything that relates: intra-medium navigation included. The study gives lots of interesting findings about news stories that were long and short, fast and slow, but I’m not covering these in this post. Of interest to me is the results about motivation to act (channel change).
Findings:
* Heart rate increases just prior to channel change and decreases after (for both young and older viewers);
* Arousal (emotional experience and physiological response) declines up to the channel change and increases after (more for younger viewers too);
* During infrequent changing viewers had a significantly lower heart rate (therefore expended greater cognitive effort);
* Both ages had better recognition (recall of stories) during periods of infrequent changing…
And the clincher:

Viewers change channels as a result of declining interest and arousal, not because they are highly active and involved. (18)

Now this is obviously known to those researching channel changing behaviour, but for those working in interactive entertainment, the idea is a bit of a revelation. Agency or the empowering of a user to participate and affect a story or game is predicated on the idea that action equates to engagement. For a user to act they must be engaged and want to continue that engagement. This may well be the case, and designing works to facilitate this is still a good idea; however, the habit of equating action with dissatisfaction is obviously entrenched in audiences’ neural pathways. Are we asking viewers, or viewsers, to not only interactive with entertainment when before they were passive, but also to reprogramme themselves everytime? Or is this not an issue? If not, why? What changes? How does interactivity within a creative work differ to interactivity between creative works? This is an important question in the cross-media paradigm where creative works are distributed over lots of works. I don’t have the answers for you right now (…a teaser). Feel free to suggest any though, and I’ll get back to you when I do.

Reference:

Lang, A., M. Shin, S.D. Bradley, Z. Wang, S. Lee and D. Potter (2005) ‘Wait! Don’t Turn That Dial! More Excitement to Come! The Effects of Story Length and Production Pacing in Local Television News on Channel Changing Behavior and Information Processing in a Free Choice Environment’ in Journal of Broadcasting & Electronic Media, Vol. 49, 1, pp:3-22

OMG! Jane McGonigal has a Blog!

Jane McGonigal, THE researcher of ARGs (alternate reality games) has a blog. It has been running since April (I’m behind obviously), but should be of interest to those interested in the genre. Jane works in industry creating ARGs as well as researching them, so she has a unique view of the area. I’m thrilled to see too that Jane even referred to cross-media storytelling (in general, not me specifically) in her talk she presented at the ARG Fest held in NY this year (I didn’t attend the event but got the DVD).

Interactive Narrative Guide

A collection of 22 articles, brought out by sagas writing interactive fiction and sagasnet, looks like an excellent resource for researchers, practitioners, lecturers and commissioners of interactive content. Developing Interactive Narrative Content covers a range of arts types & concerns.

[T]he reader explores the expanding field of interactive media itself by covering iTV, interactive film, games, mobile applications, installations, etc. and by gathering interactive theory essays, descriptions of experimental applications, articles on legal issues or teaching methods for interactive film.

Contents include:

# Ernest Adams: Design Considerations for Interactive Storytellers

# Richard Adams: Behaviour, Intelligence and Invisibility and its Effect on Narrative

# Frank Boyd: The Perfect Pitch

# Matt Costello: The Big Question& about all those horrible, terrible videogames

# Noah Falstein: Natural Funativity

# Steve Dixon, Magnus Helander and Lars Erik Holmquist: Objective Memory: An Experiment in Tangible Narrative

# Christopher Hales: Interactive Filmmaking: An Educational Experience

# Michael Joyce: Interactive Planes: Toward Post-Hypertextual New Media

# Sibylle Kurz: The Art of Pitching

# Craig A. Lindley: Story and Narrative Structures in Computer Games

# Michael Nitsche: Film Live: An Excursion into Machinima

# Teijo Pellinen: Akvaario: you are not alone at night

# Bas Raijmakers and Yanna Vogiazou: CitiTag: Designing for the Emergence of Spontaneous Social Play in a Mixed Reality Game

# Greg Roach: Granularity, Verbs and Media Types in Interactive Narratives and Narrative Games

# Volker Reimann: Authoring Mobile Mixed Reality Applications

# Vincent Scheurer: Adapting Existing Works for Use in Games

# Jochen Schmidt: Behind the Scenes Before the Screens Interactive Audience Participation in Digital Cinemas

# Tom Söderlund: Proximity Gaming - New Forms of Wireless Network Gaming

# Stale Stenslie: Symbiotic Interactivity in Multisensory Environments

# Maureen Thomas: Playing with Chance and Choice Orality, Narrativity and Cinematic Media: Vala s Runecast

# Christian Ziegler: 66 movingimages - Interaction in Filmic Space

# Eric Zimmerman: Narrative, Interactivity, Play, and Games: Four naughty concepts in need of discipline

Incidently, Monique has just come back from attending a sagas future TV workshop…I look forward finding out how it went.

iTV Research Site

UITV.INFO is a hub (sort of) of interactive TV research resources. The site provides details on
PhD theses; journals; conference proceedings; papers, books; research projects; newsletter. There isn’t every bit of information about these areas, in fact, the papers section looks the most comprehensive (though not updated for a while).

Need Motivation to Act?

Now everyone knows what a cliff-hanger is, yet many cross-media creators usually end each story or game element in one medium with no motivation to move to another. I just came across a hellofa motivation to employ the cliff-hanger technique, and once again, it is thousands of years old:

In the 1001 Nights, a King is so upset over his wife’s infidelity that he orders her killed. He then requests a wife every night (sometimes every 3 nights?!) and then, because all women are untrustworthy, he has them killed at dawn every morning. Along comes Queen Scheherazade. She tells the King stories every night, and ends with a cliff-hanger every morning so he delays the mortal decree another day. This continues for years until the King finally trusts his Queen.

I’m not saying that audiences will behead you if you don’t supply a cliff-hanger, just that an audience member’s committment to a cross-media work involves trust, and cliff-hangers!

FYI:
* To Be DIScontinued! - The Hall of Unresolved TV Cliffhangers

No Speaka Engrish

I’ve just come from a rush of work as an industry mentor in cross-media storytelling (and I’ll post about it more soon). I found the experience immensely valuable for the development of my ideas, but have also been caught in the middle of an assumption vacuum. I research cross-media storytelling from a number of perspectives: through reading academic papers, papers from different disciplines; through the experience of creating works; through the perspective of teaching; throught he persepctive of a reviewer; through the perspective of working in industry as a mentor. I find all of these help me understand my area more, but they do not provide complete new insights. When I read, create, write or speak I usually find things that confirm, develop & contradict what I’m thinking. The invention side is already taken care on inside me, the outside input reacts to it.

I work hard to honour who I am (the mix of all of them) whilst at the same time skewing my delivery & explanations according to the audience. Regardless, the very inclusion of views that are outside of the audience (eg: referring to industry in a lecture or referring to theories in an industry talk) the presentation is suddenly dirtied. It no-longer has the voracity of a presentation that speaks solely the same language. I guess it is the equivalent of lasping into another language. But the audience members do understand what is being said, they just don’t want to hear it. They don’t value the views from another area. Industry thinks academia is “all theory” and academia thinks industry is a “consensus economy” and artists think industry is “not art”. When did theory become something that cannot be applied? When did mass appeal become empty? When did making money become the antithesis of art?

By ignoring each other they loose valuable information: academia has been pursuing and experimenting with AI and interactive storytelling for years, industry can grab that knowledge; industry has developed ways to identify & respond to audiences immediately and communicate to many, a cycle and skill that academia can utilise in methodologies. And…I could talk (type) for days…

I don’t get it.

To focus on one issue, the whole idea that theory doesn’t have an application is interesting. There is even a divide between academics: some view theories as not needing to have an application. There is currently an interesting discussion on the Narrative Listserv about, among other things, the difference between Humanties and Science pedagogy. One difference being that models and systems that are taught in Sciences are always the same, whereas those in Humanities are variable. The model is relative to the person reading/experiencing it. The ultimate function of Humanities theories then, is to assist in the understanding of the self, whereas Sciences can assist in understanding things & the self. Obviously I’m still struggling with finding my polyvocal voice, but I’m developing models that can be utilised for things outside as well as inside of the self.

There will always be unique views of things. I just don’t understand where this heirarchy of information from different sources came from, and why people think it is a functional approach! I learn from scientific papers, advertorials, a poem, a graph, a bird song, a smile…

CFPs for Cross-Media Researchers

For those cross-media researchers out there (and those interested in how academia is framing cross-media issues), here are some calls for papers:


SCAN > Convergences

Call for Contributions
New technologies and News: Convergences and Divergences
A special issue of ‘Scan’, edited by Chris Atton & Graham Meikle

N.B. This is a slightly revised CFP from that appearing earlier this year. Potential contributors who have already submitted work for consideration need not resubmit. Due to a revised publication schedule at Scan, we are able to extend the deadline for submissions to 30 April 2006.

The study of news has always been central to the study of the media. But while the rise of new technologies such as the Net, mobile phones and digital TV has attracted enormous scholarly interest and has reinvigorated the field, there has not as yet been as much research on news and these new technologies as there might be. Some recent research has emphasised online journalism as a set of professional practices developed from existing journalistic philosophies and routines, though often privileging the dialogical nature of the medium to generate news agendas with media audiences (Deuze and Dimoudi, 2002). Other work emphasises journalism as a set of deprofessionalised practices that privilege grassroots ‘native reporting’ as a distinctive feature of an ‘alternative journalism’ (Atton, 2003). Such research highlights the potential of new technology use to enable new configurations of news production, distribution and reception; new modes of authorship and audiencehood; new kinds of producer and consumer. This special issue of ‘Scan’ invites contributions that are able to push forward our thinking about the modalities of news production and reception. We are particularly interested in papers that combine theory and practice to critically explore the claims made for the various manifestations of
these practices.

Who uses online news? What do they use it for? How is credibility judged? To what extent are relationships changing between reporters and readers, between news outlets and consumers, in a media environment that can be customised? How significant are participatory news and discussion projects such as Indymedia, Wikinews, OhmyNews or Slashdot?

What of news values and news content? What contributions are made to the discussion of news by online art and satire projects such as Tenbyten, News Reader or The Onion? And what of blogging? The blog may be just as much the province of the professional journalist as the amateur and, indeed, the much-vaunted ‘independence’ of blogs is often curtailed by a reliance on dominant news agendas and framing mechanisms (Haas, 2005).

Answers on a postcard to…

Chris Atton
Napier University, Edinburgh

Graham Meikle
Macquarie University, Sydney

Submission dates and guidelines
Completed papers should be sent to the issue editors by 30 April 2006.
Refereeing and revisions to be completed by 31 May 2006, for a June 2006 launch.

Submission details and style guidelines are at . Maximum length is 6,000 words.

Scan‘ is a refereed quarterly online journal of media arts and culture, hosted by the Media Department at Macquarie University, Sydney.

References
Atton, Chris (2003) ‘What is “Alternative” Journalism?’, Journalism:
Theory, Practice and Criticism 4(3): 267-272.

Deuze, Mark and Dimoudi, Christina (2002) ‘Online journalists in the
Netherlands: Towards a profile of a new profession’, Journalism: Theory,
Practice and Criticism 3(1): 85-100.

Haas, Tanni (2005) ‘From “Public Journalism” to the “Public’s
Journalism”? Rhetoric and reality in the discourse on weblogs’,
Journalism Studies 6(3): 387-396.

Dr Graham Meikle
————————-
Lecturer, Department of Media,
Division of Society, Culture, Media and Philosophy,
Macquarie University, Sydney, NSW, 2109, Australia.

tel: (61 2) 9850-6899
fax: (61 2) 9850-6776
email:

e-Media > Inter-medial

The deadline for our inaugural issue is November 15, 2005. Special topic sections of the journal, to include more than one related essay, may be proposed. We intend our inaugural issue to premiere in Spring, 2006.

We are committed to the rapid turnaround of subsequent journal submissions in as practical a means as possible.

Manuscripts can be e-mailed to the editors at e-Media@Dartmouth.edu,
or a CD/DVD version may be mailed to:

Journal of e-Media Studies
JOE-MS is a blind peer-reviewed, on-line journal dedicated to the scholarly study of the history and theory of electronic media, especially Television and New Media. It is an inter-disciplinary journal, and we welcome submissions across the fields and methodologies that study media and media history.

Our goal is to promote the academic study of electronic media, especially in light of the rise of digital media and the changes in formal and expressive capacities resulting from new configurations of electronic media forms. We solicit the best new scholarly work on current and historical e-media issues and topics, including work on inter-medial relations to traditionally non-electronic media (such as cinema, theater, and print media).

We welcome essays in traditional textual formats. We strongly encourage submissions that utilize and develop the features that an on-line journal can afford, in order to realize new analytical and pedagogical practices and strategies.

Convergence > New Media Writings

CALL FOR PAPERS
Vol 12. no 4.Winter 2006
An End to the New? Re-assessing the claims for New Media Writing(s)

Guest-edited by Simon Mills, Gavin Stewart & Sue Thomas

The focus of the special issue

This special edition of Convergence marks the tenth anniversary of the trAce Online Writing Centre, UK. To commemorate this landmark event, the guest editors are seeking to evaluate the state-of-the-art of new media writing(s).

This special edition will seek to re-assess the claims made for these forms over the last decade, to challenge the dominant ideologies and terminologies of this maturing field, and to provide a critical re-evaluation of new media writing(s) in all its forms.

We encourage discussion of the following:

* The institutional settings of new media writing(s)
* The relationship between academia and new media writing(s)
* Re-assessments of the claims made for hypertext, new media or digital writing(s) over the past decade
* Art policies and development strategies for new media writing(s)
* The audience for new media writing(s)
* The economics of new media writing(s)
* Pedagogical approaches to new media writing(s)
* The historical context of new media writing(s)
* The relationship between new media writing(s) and other digital arts

Copy deadline for refereed research articles: 30 January 2006

All proposals, inq
uiries and submissions for this special issue to:

Gavin Stewart, Artistic Project Manager
Address: trAce Online Writing Centre
Nottingham Trent University
Clifton Lane
Nottingham
NG11 8NS
United Kingdom

e-mail: gavin.stewart@ntu.ac.uk
phone: ++44 (0)115 848 3569

WRT & DAC

It is now official, I’ve got a paper in DAC! The paper, which frankly I didn’t do as much as Jeremy and Mark, is our first collaborative academic paper. We’ve been working on our collective blog, WRT, for about a year now. Basic info about the DAC program is now online. Our paper, A Framework for Comparative New Media Studies, is an interesting (we think) exploration of how the remediation of stories over different media has pedagogical as well as Narratological and Media ramifications and applications. Jeremy is representing Mark and I as I won’t be travelling over for the event. We’re all looking forward to meeting in person, but I don’t see that happening this year. We’re thrilled to be in DAC though, it is a rite-of-passage for researchers & practitioners.

Spielberg Has Crossed the Floor

Interesting news for those following the Narratology (Story) versus Ludology (Game) debate:

Steven Spielberg will be collaborating with the game makers at EA’s Los Angeles studio (EALA) to create three new original franchise properties. Beginning this year, with offices located on site at EALA, Spielberg will work directly with EA’s development teams to offer his signature style of storytelling to the concept, design, story and artistic visualization of the new games. EA will own the intellectual properties and the game franchises will be developed, published and distributed worldwide by EA. [source]

This sounds very exciting to me, because it is a sure sign cross-media properties are being developed. Cross-media properties combine story design and game play. Although I call this site ‘cross-media storytelling’ I am actually working in both story and game. I see a cross-media story as having strong interactive elements that pull on game design. As a cross-media storyteller and researcher, I recognise that I am utilising what I’ve learnt from traditional narrative, interactive storytelling, installation and games. Cross-media stories are different to normal stories and normal games. They are not foreign to them either. More on the nature of cross-media properties another time. But for now, I wanted to highlight this move of the game & film industry moving together.

Spielberg’s comments on the narratisation of games are interesting. Check out this wonderful quote on when games will be a ’storytelling artform’:

“I think the real indicator will be when somebody confesses that they cried at level 17,” Spielberg said. [source]

Ludologists are already spitting ‘bah!’ at this interloper. Game designers have been working hard to elevate games to being ‘valid’ or recognised forms of entertainment. They are not half-baked stories, they are full-baked games. You know what I mean. For references on the war that was raging for a while (and still is for some) check out these links. The latter references are to articles that give you more links.

Cameron, A. (1995) ‘D I S S I M U L A T I O N S: illusions of interactivity‘ in Millennium Film Journal: Interactivities, Vol., 28.

Barrett, M. (2000) ‘Irreconcilable Differences: Game vs. Story‘, Gamedev.net

Adams, E. (2004) ‘The Designer’s Notebook: Dramatic Novelty in Games and Stories‘, Gamasutra

Aarseth, E. (2005) ‘Storylines versus gameworlds: Landscaping as narrative device?‘ presented at 5th Symposium on Art and Multimedia: Metanarrative[s]?, CaixaForum, Barcelona, published by mediatecaonline.net

Mateas, M. and A. Stern (2005) ‘Build It to Understand It: Ludology Meets Narratology in Game Design Space‘ presented at Digital Games Research Association

Barwood, H. (2005) ‘Wiring Narrative into Play: a Practical Primer‘ presented at The Game Developers Conference, San Francisco, 7-11 March, published by GDCTV

Juul, J. (2005) ‘N & L: I can’t take it anymore!‘, The Ludologist, 19 June

Costikyan, G. (2005) ‘”No Justice, No Peace”: No Truce in the Narratology/Ludology War‘, *Games * Art * Design * Culture, 20 June

Simultaneous, Concurrent & Meshing Usage

Why is cross-media storytelling more than an artistic choice? People are crossing media already, using many types of media everyday and using more than one at a time. There has been plenty of industry research (particularly from the advertising industry) about media usage, but the following are significant. The latest one was released on the 26th September this year and is described as ‘the most comprehensive observational media use study ever undertaken’. The Ball State University study, Middletown Media Studies 2 (MMS2), followed about 400 ‘ordinary people’ in Muncie and Indianapolis, recording on a PDA every 15 secs what media they were using. they observed them from the time they woke up until the time they went to sleep, observing on average for 12.9 hours per day and ending up with over 5,000 hours of observation and 1.2 million pieces of data. Conducted by Mike Bloxham, Robert Papper, Mark Popovich and Michael Holmes, it found a high occurance of what they term concurrent media exposure: ‘exposure to content from multiple media simultaneously available through shared or shifting attention’. They found 120 possible different combinations of concurrent media exposure. That is 120 different possible stereo experiences and cross-media configurations.

Some Stats:
* 96.3 percent of the sample indulged in concurrent media usage 30.7 percent of the media day;
* The average person spends about nine hours a day using some type of media;
* 39 percent of the day was spent with media while involved in some other activity;
* 30 percent of all media time is spent exposed to more than one medium at a time;
* Levels of concurrent media exposure were higher among those 40 to 65 than people 18 to 39;
* Women spend more time multitasking with two or more types of media than men (we all knew that!);

Sources: Online Publishers Association, Media Week, MediaPost, Christian Science Monitor.

The other significant research I’m aware of is the research into simultaneous media usage. Some findings were published in the paper ‘Simultaneous media usage: A critical consumer orientation to media planning‘ in Journal of Consumer Behaviour. The study looked at 12,322 respondents, ’sampled via an online network’ and was published in 2004. A very cheerful American presenter will explain the BigResearch survey here. This survey is interesting because it delves further into the media combinations.

Some Stats:
* 70% of consumers, at one time or another, use media simultaneously;
* Going online top simultaneous medium for radio listeners;
* Newspapers best companion for television watchers;
* When listening to radio 57.3% simultaneously go online, 46.9% read newspaper and 17.7% watch TV;
* Newspapers are a TV watcher’s best friend;
* For those online whilst watching TV: they prefer documentaries on the background;
* Movies are the preferred programming for people who read newspapers and also watching TV (64.3%) followed by police detective shows (56%) and situation comedies (51.5%.);
* 52.4% of newspaper readers say they watch TV and 49.6% say they listen to the radio when reading the newspaper;
* More women (52.4%) than men (49.6%) prefer reading the newspaper and listening to the radio simultaneously;
* When online, 61.8% say they also watch TV, 52.1% listen to the radio and 20.2% are reading the newspaper.

What the report also stated was that the 18-34 year old television viewer was down 8.8% and 25-34 year olds were down 12.2%. ‘What are they doing instead of watching TV while online? They are playing video games.’ Now, the news that this age-group were playing video games is no news, but I’m wondering. In the context of CME/SIMM/MM, are video game players not multitasking?

In a Video Gaming Industry Benchmark Report on Emerging Markets, Spending, and Cross-Media Ownership for Interactive Entertainment conducted by Nielsen Entertainment (which still isn’t avialable) the question still isn’t answered. The report was conducted by a random digital dial frame (RDD) (is that a random phone call?) of over 1500 respondents during January and February 2005. The study looks at Gamer demographics; Penetration figures; Cross ownership; Purchase behavior along with rental and usage behavior; Purchase motivators; Attitudes towards next generation hardware. Although the cross ownership stats will be interesting, I’m hoping with will be coupled with information about usage behaviour and particularly tracking consumption within a franchise.


Some Stats
:
* There is a strong connection between DVD and game consumption to be exploited in marketing and cross-promotion;
* 40% of U.S. households own at least one of the following game systems for game play — PC, home console or handheld device.
* 23% of gamers own all three types of gaming devices — PC, console and handheld;
* Among those who own a gaming device, 89% own a console, 65% own a PC, 36% own
a handheld;
* Active gamers typically spend approximately 5.2 hours playing by themselves with a large proportion also being spent playing socially (3.07 hours per week with friends and family or online);
* Among females, the split between solo and social game play is even more equitable with younger females 13-17 tending to play more with friends or family (54% of the time) and women 25-34 playing almost as much socially as alone.
* Males and females 45 and older are markedly different, spending almost all their time (79%) playing alone.

Released on 27th Sept was an ‘in-depth study’ of 13-24 year olds in 11 countries: Truly, Madly, Deeply Engaged: Global Youth, Media and Technology. The report, by Yahoo!Inc. and OMDWorldwide, was qualitative and quantitative. The former had 16 focus groups and 15 in-home ethnographies in six countries (Chicago, Mexico City, London, Berlin, Seoul, and Shanghai) with participants representing teens, aged 15-18, and young adults, aged 20-22. The quantitative component was an online survey with over 5,334 respondents, aged 13-24 and was conducted in Julyand August this year. This generation, what they term the My Media Generation: who are ‘highly motivated by the need for community and self-expression’, ‘have developed an immense capacity to multitask’.

Some Stats:
* Can fit up to 44 hours of activities in just one day;
* Ability to perform up to three tasks simultaneously, using multiple technologies;
* On average the global My Media Generation performs approximately three to four other tasks while surfing the Internet and approximately two to three other tasks while watching television;
* Traditional media are often pushed to “background” status in the “media-meshing” hierarchy;
* Turning to the Internet for content;
* TV serves as a mechanism for escape and entertainment…

Source: Finanzen.

RECAP ON TERMS
Simultaneous Media Usage: “multiple exposures to various media forms at a single point in time for the same media consumer” [source]
Concurrent Media Exposure: “exposure to content from multiple media simultaneously available through shared or shifting attention” [source]
Media Meshing: “is a behavioral phenomenon that occurs when people begin an experience in one medium, such as watching television, then shift to another, such as surfing the Internet, and maybe even a third, such as listening to music. The explanation for this behavior is the constant search for complementary information, different perspectives, and even emotional fulfillment.” [source]

Don’t let me let you astray you though. Cross-media storytelling isn’t just about using more than one media at once, and it isn’t just about media convergence (rebroadcasting the same content over multiple media). Cross-media storytellers recognise that messages are delivered in many forms, and can combine them in symphonic experiences: sometimes in stereo and sometimes one after another. Gary gives more info and an experienced analysis at his blog too.